Any art gallery that deals with historical art must deal with important conservation issues as well. Maintaining quality is a difficult yet crucial matter, particularly when it involves works on paper. Recently, several clients have brought in for consignment artwork that was not properly protected and this can adversely affect the value of a work of art.
Restorative conservation treatments can minimize this type of damage, but prevention is always best. Paper is a delicate, living, breathing entity which is sensitive to all environmental effects. Natural and even artificial light can cause colours to fade and papers to discolour. Direct contact with non acid-free materials like wood or old backboards and matting, will “burn” the paper, leaving brownish staining along areas of contact. Storing in high humidity areas can cause foxing, believed to be a fungal growth that causes brownish spots and discolouration.
All the above intrusions can be prevented by insisting on proper framing materials including rag matting, UV protective glass, and professional assembly to reduce moisture ingress. Remember to always place your artwork in areas that are neither extremely humid nor dry.
When investing in collectible art, we recommend you inquire about the condition of the artwork and even request a condition report. Flaws and damage will affect the selling price so if you are selling investment art, we strongly advise you to consider restoration before placing it on the market. Once you have established that a work of art is actually restorable, the major consideration is to determine how to best proceed with minimal intervention. A professional conservator knows how to preserve the work without compromising its originality.
Thoughts from a Conservator: Rebecca Pavitt, Fine Art Conservation, www.fineartconserve.com
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Braque lithograph before conservation treatment
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Braque lithograph after conservation treatment
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“Is it worth conserving?” This is a question I am often asked, but am unable to answer because this means putting a value on a piece of art. Sentimental value is something only the owner or caretaker can determine and monetary evaluation is outside of most conservators' area of expertise. Our Code of Ethics prohibits us from appraising artworks in order to prevent possible conflict of interest. Like Caesar’s wife, conservators like to be above suspicion.
This is why conservators often work with galleries and appraisers who can place a value on art and artifacts, thus helping the owner or buyer answer the question, “Is it worth it?” Two basic considerations are used to determine most conservation plans: long-term stability and appearance. Appraisers and gallery owners can help the owner determine the best conservation cost/value added ratio for an individual piece.
In the case of this Braque lithograph, Chali-Rosso Gallery determined that foxing and matte burn distracted the viewer’s attention from the beauty of the piece, and that conservation treatment would improve its appearance and marketability. Treatment involved removal of the metallic nuclei of the foxing spots, chelation to bind any remaining metals and help flush soluble discolouration, bleaching to remove discolouration, rinsing and depositing an alkaline reserve to provide future protection to the paper.
Previously: A project completed and heritage preserved
Next issue: The challenges of conserving contemporary artwork
